HIS MAJESTY’S.

New Zealand Illustrated Sporting & Dramatic Review, Issue 1393, 4 January 1917, Page 34

HIS MAJESTY’S.

GRAND OPERA SEASON. A FEAST OF MUSIC. With twelve operas to be fitted into sixteen nights, the Gonsalez Italian Grand Opera Company are given an opportunity of disclosing the extensiveness of their repertoire and the beauties of voice possessed by the principals. Two. .notable achievements of “11, Trovatore” were followed on Thursday last by “La Traviata,” the operatic setting of Dumas’ story of “The Lady of the Camelias.” This served to introduce a new prima donna in Signorina Gonsalez, v.ho, as the ill-fated courtesan, Violetta, made the character a living presentment in all its:varying range of moods. The brilliance of her voice was expressed . in her superb handling of the difficult aria “Ah, fors? e lui,” which was received with a storm of enthusiasm, and through all the exacting demands vocally and histrionically she proved her supremity, capturing the audience with her charm and talent. Signor Dagradi, as Alfred Gefmont, her lover, revealed a tenor voice of rich tone and expressiveness, and scored effective points in his scene with his father in the second act. Signor Filippini made a powerful appeal as Germont, senior, his baritone notes ringing out with rich volume and dramatic force in the duets with Violetta, his impassioned appeal in the popular number “Di Provenza il mare” calling forth a peremptory encore. Signora Belloni as Flora, Signor Barontini as Gaston, Signor Petrucci as the Baron, Signors Cesaroni and Borghesi as the doctor and Marquis adequately filled theii' The presentation was enriched by- the orchestra’s discriminating work under the sensitive baton ' of Signor Ernesto Gonsalez. “CAVALLERIA RUSTICANA” AND “I PAGLIACCI.” Mascagni’s “Cavalleria Rusticana” and Leoncavallo’s “I Pagliacci,” with their similarity in themes, their short stories and vigorous action entitling them to be given as companion plays, enraptured the audience on Friday night, and gave further evidence of the variety and adaptability of the company, and of their ability to present modern musical drama The music of “Cavalleria Rusticana” has been familiarised by choral societies, and its beautiful orchestration was naturally given a masterly exposition, the famous Intermezzo having to be repeated, so remarkable was the interpretation. Signorina de Revers in the role of Santuzza vividly portrayed . the feelings of the deserted wife, subtly reflecting the charges of emotion, and touchingly emotional in her pleading. A new tenor came into prominence in Signor Lois, who in the role of the peasant, Turridu, brought an arrestive voioe and personality to bear in making the portrayal of outstanding merit. Singularly striking was the “Siciliana” sung after'the orchestral prelude (the effect of which was heightened by the delicately ' played" harp accompaniment of Signor Truda), and for his spirited drinkingsong he was. accorded an ovation. Another illuminating feature was th# appearance of Signor Scamuzzi Alflo, his singing and acting galvanise ing the audience. With such rollicking spirit did he deliver the team- -

ster’s boisterous whip song that an encore was peremptorily demanded, while intensely dramatic was his demeanour when he hears of his wife’s (Lola) treachery. The faithless Lola, who exercised her fascinations to the undo.ng of Turridu, had a coquettish and understanding exponent in Signorina Russ. Signorina Piccolo invested the part of Mamma Lucia with much feeling. “I PAGLIACCI.” A memorable performance of “I Pagliacci” followed. This play within a play—-the harlequin and Columbine enacting a story on the stage which had its counterpart in the tragedy of their own lb es —was given with compellingly dramatic intensity, the vigorous music being tellingly animated by the art of the impersonators. Signor Balbon.’s Caiiic must stand out as one of the great artistic triumphs of the season. With a tenor voice of rich melody and declamatory power, he vividly depicted the anguish of Canio on learning of his wife’s (Nedda) elopement, intensely emphasising his love and jealousy, superbly working up to a frenzy of wild emotion in the stabbing scene with its startling climax, and holding his audience strongly enthralled by the abandon of his art right up to his tragic declaration “Le commedia e- finita.” No one will readily forget his emotional rendering of “Vesta la Guibba” (On With the Motley). No less remarkable was the success of Signor Scamuzzi as Tonio, the clown. His magnificent delivery of the famous Prologue had a stirring effect, and all through he showed his mettle as a singer and actor of sterling merit. Signorina Visoni was thoroughly effective as Nedda, the cause of the tragedy, using a delightful soprano voice with clear judgment in the difficult scenas, and acting with girlish charm and naturalness. Signor Filippini as Silvio (Nedda's lover) entered with commendable judgment and sincerity into the spirit of the part, and aroused considerable enthusiasm with the fervour of his singing. Signor Barontini made an excellent Beppo. As with. “Cavalleria Rusticana,” both performances, which were repeated at Saturday’s matinee, were a triumph for orchestra, singers and conductors (Signors G'iovanni Gonsalez and Ernesto Gonsalez). “LUCIA DI LAMMERMOOR.” Donizetti’s tragic opera “Lucia di Lammermoor,” based on Sir Walter Scott’s novel, “The Eride of Lammermoor,” was chosen for Saturday night’s production, and brought to favourable notice an array of star singers. With music of dramatic inspiration, underlined with eloquently brilliant recitatives and arias, the melodic value was given full measure by this company of artists to outbursts of spontaneous appreciation. As Lucia, the heroine, who, forced by her brother, Henry Ashton, into a loveless marriage, becomes insane and kills herself, Signorina Gonsalez carried off high honours, the qualities of her flexible soprano voice eminently fitting her to give exquisite express on to the many exacting passages, while in the “mad scene” she rose to daring heignts of vocalisation, her work being marked with admirable restraint. Lustre was added to the performance by the inclusion of that distinguished tenor, Signor Cappelli, who gave an impeccable impersonation of Edgar, Lucia’s lover, the incomparable beauty of his voice holding his hearers spellbound. The Tomb Scena was given with thrilb’ng action, and the passages with Signorina Gonsalez, sounding their notes of passion and despair, revealed perfect blending of harmony and tone. Signor Cacialli, with his telling bass voice, brought dramatic import to the role of Raimondo. Signor Belloni skilfully portrayed the character of the arrogant Elenry Ashton, and vibrato notwithstanding made his

numbers stand out with vigour and distinctiveness. The celebrated sextette by the principals, which follows the unexpected arrival of Edgar in the middle of the marriage celebrations, was dramatically effective, arousing the audience to emphatic enthusiasm. “LA BOHEME.” Puccini’s “La Boheme” engaged attention on New Year’s night, enchanting a holiday audience with its flow of melody and vividly coloured sketches of Bohemian life. Signorina Gonsalez was an ideal Mimi, her artistic individuality'being apparent in her delicate conception of the part which found early realisation in her sympathetic singing of “They Call Me Mimi.” Her numbers were given with appealing'charm and infinite tenderness, and she rose to dramatic heights in the final pathetic scene. Signorina Visoni made a vivacious Musetta, acting with exuberant zest and giving due expression to the Waltz Song, and artistically conveying the atmosphere of her surroundings. Signor Belloni as Marcel, the painter, charged his acting with the right shade of intensity, and Signor Scamuzzi, as Schaunard, gave temperament and expressiveness to his delineation. Signor Cacialli’s excellent interpretative ability was pronounced in his characterisation of Colline, and lis singing of “Garment Antique” met with a spontaneous ovation. An enjoyable study in contrasts was afforded in the quarrel scene between Marcel and Musetta, side by side with the pathetic separation of Mimi and Rudolph, the fiery nature of the one group and the ineffable tenderness of the other being skilfully depicted. Signor Giovanni Gonsalez commanded the stage and orchestral forces v/ith characteristic competency. “UN BALLO IN MASOHERA.” The alluring music of Verdi’s work, “Un Ballo in Maschera,” meant another triumphal achievement for this fine combination on Tuesday. The cast was of exceptional merit, vitalising a performance that will not easily be effaced from the memory of those privileged to witness it Dominating its interest was Signor Cappelli, who captivated everyone by the beauty and purity of his opulent golden voice in his adaptation of it to the role of Riccardo, Governor of Boston. His notes rang out with striking intensity in the perfervid love scenes, evoking a veritable furore of applause and insistent clamour for encores. Noteworthy work was also done by Signor Scamuzzi, in the part of Renato, the betrayed husband, bis lines being delivered with that singer’s full power of adequate dramatic representation. His success, too, was unbounded, and imperative recalls were demanded. Signorina Visoni was felicitously placed as Oscar, the pt ge, the witchery of her voice and the brightness of her personality specially adapting her to a sparkling part. Signorina Ide Revers, as Renato’s wife, stamped her work with dramatic fire and vehemence, while Signorina Russ lent realism to the character of the witch, Ulrica. To-night (Thursday) “Faust” will be the attraction, with “Rigoletto” on Friday, and “Faust” again on Saturday night. The concluding week wiil be devoted to “Mignon,” “Madam • Butterfly,” “La Tosca” and “Carmen.” ..